The Fragility of Public Service: a Study of Richard II & Measure for Measure
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Richard II First Folio
FIRST FOLIO Teacher Curriculum Guide Welcome to the Table of Contents Shakespeare Theatre Company’s production Page Number of About the Play Richard II Synopsis of Richard II…..…….….... …….….2 by William Shakespeare Interview with the Director/About the Play…3 Historical Context: Setting the Stage….....4-5 Dear Teachers, Divine Right of Kings…………………..……..6 Consistent with the STC's central mission to Classroom Connections be the leading force in producing and Tackling the Text……………………………...7 preserving the highest quality classic theatre , Before/After the Performance…………..…...8 the Education Department challenges Resource List………………………………….9 learners of all ages to explore the ideas, Etiquette Guide for Students……………….10 emotions and principles contained in classic texts and to discover the connection between The First Folio Teacher Curriculum Guide for classic theatre and our modern perceptions. Richard II was developed by the We hope that this First Folio Teacher Shakespeare Theatre Company Education Curriculum Guide will prove useful as you Department. prepare to bring your students to the theatre! ON SHAKESPEARE First Folio Guides provide information and For articles and information about activities to help students form a personal Shakespeare’s life and world, connection to the play before attending the please visit our website production. First Folio Guides contain ShakespeareTheatre.org, material about the playwrights, their world to download the file and their works. Also included are On Shakespeare. approaches to explore the plays and productions in the classroom before and after the performance. Next Steps If you would like more information on how First Folio Guides are designed as a you can participate in other Shakespeare resource both for teachers and students. -
For God's Sake, Let Us Sit Upon the Ground and Tell Sad Stories of the Death of Kings … -Richard II, Act III, Scene Ii
The Hollow Crown is a lavish new series of filmed adaptations of four of Shakespeare’s most gripping history plays: Richard II , Henry IV, Part 1 , Henry IV, Part 2 , and Henry V , presented by GREAT PERFORMANCES . For God's sake, let us sit upon the ground and tell sad stories of the death of kings … -Richard II, Act III, Scene ii 2013 WNET Synopsis The Hollow Crown presents four of Shakespeare’s history plays: Richard II , Henry IV, Parts 1 and 2, and Henry V . These four plays were written separately but tell a continuous story of the reigns of three kings of England. The first play starts in 1398, as King Richard arbitrates a dispute between his cousin Henry Bolingbroke and the Duke of Norfolk, which he resolves by banishing both men from England— Norfolk for life and Bolingbroke for six years. When Bolingbroke’s father dies, Richard seizes his lands. It’s the latest outrage from a selfish king who wastes money on luxuries, his favorite friends, and an expensive war in Ireland. Bolingbroke returns from banishment with an army to take back his inheritance and quickly wins supporters. He takes Richard prisoner and, rather than stopping at his own lands and privileges, seizes the crown. When one of Bolingbroke’s followers assassinates Richard, the new king claims that he never ordered the execution and banishes the man who killed Richard. Years pass, and at the start of Henry IV, Part 1 , the guilt-stricken king plans a pilgrimage to the Holy Land to wash Richard’s blood from his hands. -
King and Country: Shakespeare’S Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company
2016 BAM Winter/Spring #KingandCountry Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board BAM, the Royal Shakespeare Company, and Adam E. Max, Vice Chairman of the Board The Ohio State University present Katy Clark, President Joseph V. Melillo, Executive Producer King and Country: Shakespeare’s Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company BAM Harvey Theater Mar 24—May 1 Season Sponsor: Directed by Gregory Doran Set design by Stephen Brimson Lewis Global Tour Premier Partner Lighting design by Tim Mitchell Music by Paul Englishby Leadership support for King and Country Sound design by Martin Slavin provided by the Jerome L. Greene Foundation. Movement by Michael Ashcroft Fights by Terry King Major support for Henry V provided by Mark Pigott KBE. Major support provided by Alan Jones & Ashley Garrett; Frederick Iseman; Katheryn C. Patterson & Thomas L. Kempner Jr.; and Jewish Communal Fund. Additional support provided by Mercedes T. Bass; and Robert & Teresa Lindsay. #KingandCountry Royal Shakespeare Company King and Country: Shakespeare’s Great Cycle of Kings BAM Harvey Theater RICHARD II—Mar 24, Apr 1, 5, 8, 12, 14, 19, 26 & 29 at 7:30pm; Apr 17 at 3pm HENRY IV PART I—Mar 26, Apr 6, 15 & 20 at 7:30pm; Apr 2, 9, 23, 27 & 30 at 2pm HENRY IV PART II—Mar 28, Apr 2, 7, 9, 21, 23, 27 & 30 at 7:30pm; Apr 16 at 2pm HENRY V—Mar 31, Apr 13, 16, 22 & 28 at 7:30pm; Apr 3, 10, 24 & May 1 at 3pm ADDITIONAL CREATIVE TEAM Company Voice -
Henry V Plays Richard II
Colby Quarterly Volume 26 Issue 2 June Article 6 June 1990 "I will...Be like a king": Henry V Plays Richard II Barbara H. Traister Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Quarterly, Volume 26, no.2, June 1990, p.112-121 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. Traister: "I will...Be like a king": Henry V Plays Richard II "I will . .. Be like a king": Henry V Plays Richard II by BARBARA H. TRAISTER N BOTH RichardII and Henry v, the first and last plays ofthe second tetralogy, I kings engage in highly theatrical activity. Each play, however, has a very different metadramatic focus. In Richard II acting becomes a metaphor for the way Richard sees himself. The focus of audience attention is the narcissistic royal actor whose principal concern is his own posturing and who is his own greatest, and eventually only, admirer. Richard is an actor and dramatist, the embodiment of Elizabeth I's comment: "We Princes, I tell you, are set on stages, in the sight and view of all the world duly observed" (quoted in Neale 1957,2:19). However, his self-ab sorption and blindness to the world around him lead the audience to make few, if any, connections between him and the actor-dramatist who created him. The play is nearly empty of self-reflexive dramatic overtones despite its complex portrait of a player king. -
Political Legitimacy and the Economy of Honor in Shakespeare's Henriad Bandana Singh Scripps College
Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2018 “Your unthought of Harry”: Political Legitimacy and the Economy of Honor in Shakespeare's Henriad Bandana Singh Scripps College Recommended Citation Singh, Bandana, "“Your unthought of Harry”: Political Legitimacy and the Economy of Honor in Shakespeare's Henriad" (2018). Scripps Senior Theses. 1140. http://scholarship.claremont.edu/scripps_theses/1140 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. “YOUR UNTHOUGHT OF HARRY”: POLITICAL LEGITIMACY AND THE ECONOMY OF HONOR IN SHAKESPEARE’S HENRIAD by BANDANA SINGH SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS PROFESSOR PRAKAS PROFESSOR KOENIGS 6 DECEMBER, 2017 !1 Shakespeare’s Henriad delves into questions of divine authority, political legitimacy, and kingly identity.1 While it is unknown whether Shakespeare meant for the plays to be understood as a tetralogy, each play sets up the political climate for the subsequent one. However, the Henriad also tracks a pivotal transition in the understanding and composition of kingship. Richard II paints the portrait of a king infatuated with his own divinity. Richard’s incompetency as a ruler is highlighted by two major offenses: killing his uncle Gloucester, and disinheriting his cousin, Henry Bolingbroke, who eventually leads a rebellion against the corrupted king. Richard’s journey from anointed king to deposed mortal captures the dissolution of his fantasy of invincibility and highlights two conflicting viewpoints on the office of kingship in relation to political theology. -
1 Two Richard II Films, Directed by Rupert Goold (2012) and Gregory
Two Richard II films, directed by Rupert Goold (2012) and Gregory Doran (2013) Arlynda Boyer University of Toronto [email protected] Richard II, episode 1 of the BBC mini-series The Hollow Crown. Directed by Rupert Goold. With Ben Whishaw (Richard II), Patrick Stewart (John of Gaunt), Rory Kinnear (Henry Bolingbroke), David Suchet (Duke of York), Tom Hughes (Duke of Aumerle), James Purefoy (Thomas Mowbray), David Morrissey (Earl of Northumberland). Richard II. Based on a production by the Royal Shakespeare Company. Directed by Gregory Doran. With David Tennant (Richard II), Michael Pennington (John of Gaunt), Nigel Lindsay (Henry Bolingbroke), Oliver Ford Davies (Duke of York), Oliver Rix (Duke of Aumerle), Jane Lapotaire (Duchess of Gloucester), Antony Byrne (Thomas Mowbray), Sean Chapman (Earl of Northumberland). Gregory Doran, director of the Royal Shakespeare Company’s 2013 film of Richard II starring David Tennant, has noted that between the Stratford and London runs of the original stage production and the multiple worldwide cinema showings, his production has a plausible claim to being the single most-watched Shakespeare production in history.1 Producers of Rupert Goold’s Richard II starring Ben Whishaw, screened as part of the Hollow Crown mini-series shown on the BBC and PBS, might challenge that claim. Both are now available on DVD and both will likely find their way into classrooms. Since the films were directed with almost diametrically opposed visions, teachers may want to use clips from both by way of contrast when discussing interpretations of the play with students. It is thus worth considering the strengths and weaknesses of each. -
Performing Kingship in Richard II
University of Pennsylvania ScholarlyCommons Undergraduate Humanities Forum 2010-2011: Penn Humanities Forum Undergraduate Virtuality Research Fellows 4-2011 "Thus play I in one person many people:" Performing Kingship in Richard II Rachel Cohen University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/uhf_2011 Cohen, Rachel, ""Thus play I in one person many people:" Performing Kingship in Richard II" (2011). Undergraduate Humanities Forum 2010-2011: Virtuality. 1. https://repository.upenn.edu/uhf_2011/1 Suggested Citation: Cohen, R. (2011). "'Thus play I in one person many people:' Performing Kingship in Richard II." 2010-2011 Penn Humanities Forum on Virtuality. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/uhf_2011/1 For more information, please contact [email protected]. "Thus play I in one person many people:" Performing Kingship in Richard II Comments Suggested Citation: Cohen, R. (2011). "'Thus play I in one person many people:' Performing Kingship in Richard II." 2010-2011 Penn Humanities Forum on Virtuality. This other is available at ScholarlyCommons: https://repository.upenn.edu/uhf_2011/1 "Thus play I in one person many people:" Performing Kingship in Richard II Rachel Cohen 2010–2011 Penn Humanities Forum Undergraduate Mellon Research Fellowship Cohen 1 “Textual histories are nevertheless histories, and revision, elisions, suppressions, accretions are essential elements of drama by its very nature…” --Stephen Orgel, Impersonations (54) Radically different versions of Shakespeare’s plays have always existed due to the various purposes the texts have served: to stage a performance, to capture a performance retrospectively, or to create a posthumous literary canon. However, for three hundred years, scholars cleaned up and conflated variant editions of Shakespeare’s plays to create composite texts meant to approximate a hypothetical original manuscript. -
Shakespeare's Henriad As Political Philosophy by Leon Harold Craig
Digital Commons @ Assumption University Political Science Department Faculty Works Political Science Department 2017 Review of The Philosopher's English King: Shakespeare's Henriad as Political Philosophy by Leon Harold Craig Bernard J. Dobski Assumption College, [email protected] Follow this and additional works at: https://digitalcommons.assumption.edu/political-science-faculty Part of the Philosophy Commons, and the Political Science Commons Recommended Citation Dobski, Bernard J. "Rev. of The Philosopher's English King: Shakespeare's Henriad as Political Philosophy by Leon Harold Craig." Interpretation: A Journal of Political Philosophy vol. 43 no. 2 (Winter 2017): pp. 341-345. This Book Review is brought to you for free and open access by the Political Science Department at Digital Commons @ Assumption University. It has been accepted for inclusion in Political Science Department Faculty Works by an authorized administrator of Digital Commons @ Assumption University. For more information, please contact [email protected]. Book Review: The Philosopher’s English King 341 Leon Harold Craig, The Philosopher’s English King: Shakespeare’s Henriad as Political Philosophy. Rochester: Boydell & Brewer, 2015, 296 pp., $95.00 (hardcover). Bernard J. Dobski Assumption College [email protected] Harold Bloom famously declared that Shakespeare “invented” us. Such a claim is hardly hyperbolic: Shakespeare’s plays are perennially performed in parks and theaters across the Western world, and his poetry continues to inform the television, cinema, and literature that shape our culture. It is thus no surprise that scholars and academics find in Shakespeare’s creative legacy a treasure worth plundering, publishing nearly one hundred books per year on the Bard. -
Shakespeare's Bolingbroke: Rhetoric and Stylistics from Richard II to Henry IV, Part 2
California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 2004 Shakespeare's Bolingbroke: Rhetoric and stylistics from Richard II to Henry IV, part 2 DeAnna Faye Jenson Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the Literature in English, British Isles Commons, and the Rhetoric Commons Recommended Citation Jenson, DeAnna Faye, "Shakespeare's Bolingbroke: Rhetoric and stylistics from Richard II to Henry IV, part 2" (2004). Theses Digitization Project. 2536. https://scholarworks.lib.csusb.edu/etd-project/2536 This Thesis is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. SHAKESPEARE'S BOLINGBROKE: RHETORIC AND STYLISTICS FROM RICHARD II TO HENRY IV, PART 2 A Thesis Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements to the Degree Master of Arts in English Composition by DeAnna Faye Jensen March 2004 SHAKESPEARE'S BOLINGBROKE: RHETORIC AND STYLISTICS FROM RICHARD II TO HENRY IV, PART 2 A Thesis Presented to the Faculty of California State University, San Bernardino by DeAnna Faye Jensen March 2004 Approved by: Bruce Golden, Chair, English Date on ABSTRACT Joseph A. Porter acknowledges in The Drama of Speech Acts: Shakespeare's Lancastrian Tetralogy that little is written on Henry Bolingbroke. Although scholarship has begun to change since Porter made this observation in 1979, Bolingbroke still remains ancillary to the more colorful characters in Richard. -
Linguaculture 1, 2014
LINGUACULTURE 1, 2014 THE HOLLOW CROWN:SHAKESPEARE, THE BBC, AND THE 2012 LONDON OLYMPICS RUTH M ORSE Université-Paris-Diderot Abstract During the summer of 2012, and to coincide with the Olympics, BBC2 broadcast a series called The Hollow Crown, an adaptation of Shakespeare’s second tetralogy of English history plays. The BBC commission was conceived as part of the Cultural Olympiad which accompanied Britain’s successful hosting of the Games that summer. I discuss the financial, technical, aesthetic, and political choices made by the production team, not only in the context of the Coalition government (and its attacks on the BBC) but also in the light of theatrical and film tradition. I argue that the inclusion or exclusion of two key scenes suggest something more complex and balanced that the usual nationalism of the plays'; rather, the four nations are contextualised to comprehend and acknowledge the regions – apropos not only in the Olympic year, but in 2014's referendum on the Union of the crowns of England/Wales and Scotland. Keywords: Shakespeare, BBC, adaptation, politics, Britishness During the summer of 2012, to coincide with the London summer Olympics, BBC2 broadcast a series called The Hollow Crown, an adaptation of Shakespeare’s second tetralogy of English history plays. An additional series, Shakespeare Unlocked, accompanied each play with a program fronted by a lead actor discussing the play and the process, illustrated by clips from the plays in which they had appeared (“The Hollow Crown”). The producer was the Neal Street Production Company in the person of Sam Mendes, a well-known stage and cinema director, celebrated not least for an Oscar for American Beauty, a rare honour for a first-time film director. -
What Every Elizabethan Knew
Shakespeare's Histories What the Elizabethans Believed About History "In order to write his plays about English history Shakespeare turned to contemporary history books, called chronicles, particularly those by Edward Hall and Raphael Holinshed. Recounting the past sequentially, these books discussed politics, weather, local events, disasters, and marvelous occurrences like the birth of a baby with two heads. The chronicle accounts of kings, queens, rebellions, battles, wars, councils, and the like entertained as well as informed; they provided a long-running series on the lives of the rich and famous, who happened also to be the royal, the powerful, the good, and the evil. The millions of people today who eagerly read historical novels, watch BBC specials or films like Oliver Stone's JFK, or devour materials on Princess Diana's life and death, would have turned to chronicles in Shakespeare's day. They substituted for our histories, docu-dramas, journals, films, and in some cases, even our soap operas. Chronicles offered the excitements of historical research as well as those of popular non-fiction and fiction. Confronting so rich a record of human achievement and folly, chroniclers often read in English history political and moral truths. Everywhere they saw, or at least said they saw, the evils of dissension and rebellion, for example, or the inevitable workings of divine justice. Shakespeare inherited these thematic focuses as he shaped chronicle materials, often loose, formless, into sharp conflicts between compelling individuals; sometimes he darkened them into tragedy, as in Richard II; sometimes he brightened them into comedy, as in Henry V. -
The Tragedy of King Richard II
The Tragedy of King Richard II Not a good king, according to historical accounts, Richard II and his failings were popularized by William Shakespeare in The Tragedy of King Richard II. In this clip, we see John Gielgud, in the role of John of Gaunt (the Duke of Lancaster), bemoaning the weaknesses of the country (under Richard II) and berating the King (for his bad judgment). It is Gaunt's last speech, before he dies. Move the video forward, to 2:07, for the scene with these famous words: This royal throne of kings, this scepter'd isle, This earth of majesty, this seat of Mars, This other Eden, demi-paradise, This fortress built by Nature for herself Against infection and the hand of war, This happy breed of men, this little world, This precious stone set in the silver sea ... That England that was wont to conquer others Hath made a shameful conquest of itself. From Shakespeare's Richard II, Act 2, scene 1. For a bit of historical background ... John Gaunt (so-called because he was born in Ghent which, in English, was then known as "Gaunt") was the younger brother of Edward, the Prince of Wales (also known as "The Black Prince"). Ancestor to many of Britain's Kings and Queens - including the present Queen - John Gaunt was one of the wealthiest men in Britain during his lifetime (1340-1399). Historians also believe he was one of the wealthiest men who ever lived. The following brief summary of the entire work will provide some background for the meaning of Gaunt's words as he chastises his nephew, the young king.